BHS BAND WARMUP PACKET MELLOPHONE/HORN

BHS BAND WARMUP PACKET
MELLOPHONE/HORN
Fingering Chart
Intonation Tendencies,,,.,.,,.,.,...,,,.,,...,.,,,,......,
Long-tones
Circle of Fifths
Articulation
Flexibility/Technique
Scales
Chorales
“Need to Know”
Theory
1
2
4
5
6
8
13
18
24
25
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1:
French Horn
Notes not addressed are
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F Flat
S = Sharp
V= Very
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Use Bb side
2nd & 3rd valve
Adjustment
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S
S
F
S
Use Bb side
1st & 2nd or
3rd valve
Use Bb side
2nd valve
Use Bb side
play open
Use F side
3rd valve
Th
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Note: Recommend using Bb side from C# up
S
F
S
S
S
Use Bb side
2nd & 3rd
Use F side
3rd valve
Use F side
3rd valve
F
F
Use Bb side
2nd valve
F side
1st & 3rd
F
F
F
Bb side
F side
Bb side
2nd & 3rd use 2nd
open
page 20
F side
play
open
F
F side
1st & 3rd
F
Bb sale
1st valve
Bh side
use 3rd
valve
VF
S
Bb side
open
Bb side
use 3rd
34
uninocess
Brasses
Play 2nd line G three or four times. Then play up to 3rd space C,
diatonically from G. Both the G and C should register 4 to
6 cents sharp. Try to zero in on G as this will
take the edge off the slightly raised C.
French Horn: Tuning the double horn can bea very complicated
task. The followingisasystematic approach
to both the Rb side and the F side of the instrument. First tune
the Bb side. Check the C (concert F) and adjust
the main tuning slide. (This is usually the first slide on the
mouthpipe tubing.) Now release the Bb thumb
levcr and check the same Con the F side and adjust the other
tuning slide. (Note: Do not readjust the main
tuning slide as it affects both the Bb and F horn.) Make sure
that you maintain a consistent hand position
throughout these checks. It is important to note that if the player
is having difficulty tuning (especially the
Bh horn) and is extremely sharp, the problem may be
a tight throat. After tuning the open tones on both the
Rb and F sides, the next step is to tune each valve independentl
y. Again, start with the Bb horn. Cone the
first valve to Eb and Rb, the second valve to F and natural,
B
the 1st and 2nd valve combination to A and
then the third valve to A. When you are satisfied with
the pitch on the Bh side, repeat the process on the F
side using F and Bb for the first valve, F# and B natural for
the second, A for the 1st and 2nd combination
and A again for the third valve alone. Play a series of
scales and arpeggios, using both the Rb and F sides,
to insure consistency.
Iqmbone: Play 4th line F three or four times. This note should
be 4 to 6 cents sharp. Then play Bb above
the staff several times and tune to zero tolerance. Try to zero
in on F as this will take the edge off the slightly
raised Bb. Play lip slurs from 2nd line Bb to 4th line F
several times to insure proper tuning of the F. Do
the same from 4th line F up to Bh. If the trombone has a
trigger, Tune the 4th line F. Try to match the pitch
of the trigger with the open. first position F. Then tune
low C. (Note: If the trombone has an open wrap design
the pitch and quality will be quite good. If not, most trigger
notes will tend to be sharp and stuffy.)
phonium: First tune 4th line F. Then tune Rb above the
staff. The F should be sharp but try to tune both
notes as close to zero tolerance as possible. Play lip slurs
as on trombone to check the consistency of both
pitches. (Note: On inadequate instruments, low Bb is very flat. Try
and avoid these horns.) Tune the fourth
valve to 2nd space C. If the tuning of C is adequate, then the
combination of second and fourth valves (B
natural) should be close, but still a bit sharp.
Tuba: First play F below the staff three or four times This note
should be well centered. Then check 2nd
line Rb. This note should be near perfect. Play from F down
to low Rb, three or four times, diatonically.
Low Bh should register at zero tolerance Play a series oflip slurs
from F upto Rb and Rb down to F to check
the consistency on both notes. (Note: Beware of tuning young
players on low Bb as this is not the easiest
pitch to center.) Tune the fourth valve to F below the staff and low
C. Then check the 2nd and 4th valves to
see if this combination is close to the desired pitch on F natural. (Note. This pitch will he
sharp but close
enough to allow centering.)
Horn in F
Baldwin Band Standard Warmups
Long Tones
rBreathing!]
Player 1
6
[B-flat Over]
B-flat Separat1
Player 2
Player 1
Player 3
Player 2
F Concert Paynter
-
-
-
B-flat Paynter (Descending)
13
—--
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19
D Paynter (Descending)
H
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22
F Paynter (Ascending)
-
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Pavnter (Skips)
F JF
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Appendix
G
C
(e minor)
(a minor)
D
(d minor)
B
(g minor)
E6
(c minor)
(f minor)
A
Circle
of
Fifths
i
(f sharp minor)
c,
D
(c sharp minor)
G
(b flat minor)
(e flat minor)
F
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F Chromatic Scale (Concert B)
C Chromatic Scale (Concert F)
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CHoRALE NO 5
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BAND INFO
—
“NEED TO KNOW”
Strategies for SMART practice:
1. Play rhythms on one pitch first if difficult
2. Look for patterns
3. Play in a comfortable range first (down an octave?)
4. Isolate one challenge at a time
5. Work slow to fast (use a metronome)
6. Build from the middle
Logical Steps to Effective Intonation
1. Listen for “beats”
2. Make an adjustment; if beats get faster, try the opposite until the beats slow and
eventually disappear.
3. If you have to pinch to make the beats stop, make your instrument shorter
4. If you have to relax to make the beats stop, make your instrument longer
5. When you hear no beats while playing with your normal embouchure you are in tune!
Ways and Steps to Listening
1. If you hear yourself sticking out of the band’s sound you may be playing too loud. This is
BALANCE. See below for info on the Pyramid of Sound.
2. If you adjust your volume and still stick out of the band’s sound, adjust your posture,
embouchure, and breath support to make your tone mesh better. This is BLEND. Think
of putting your sound “inside” other voices...e.g. Alto’s try to fit “inside” the horn sound;
Trumpets try to fit “inside” the tuba sound.
3. If you adjust your volume and tone and still stick out of the band’s sound, you may be
out of tune. This is INTONATION (see above).
4. Always listen down to the lowest instrument, to the people on either side of you, and to
yourself.
The Pyramid of Sound (BALANCE)
1. Higher voices are more easily heard than low voices; therefore to create a more
balanced sound, adjust all dynamics levels as follows.
2. Low voices (tuba, low brass, tenor sax) should be strongest...play at or above the written
dynamic level
3. Middle voices (alto, horn) are the next highest priority...play at or slightly below the
written dynamic level
4. High voices (trumpets, flute, clarinet) should be least prominent...play one level below
the written dynamic level
‘ts
Scale and Chord Related Theory
the range of an octave.
end in a stepwise manner within
single notes which ascend or desc
of
s
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a
is
scale
A
abetical order.
note names will always be in alph
ged in a stepWiSe manner, the
arran
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scale
use
Beca
half step
s have a specific whole step/
The notes within scale
r.
each othe
the 3rd, 6th, and
jjEyiic gcj,ttonhi with
C natural minor scale (lower
7th scale degrees a half step).
C
3-4and7-8).
ScakOejrtcs 1
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between scale degrees
C major scale (half steps are
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2
3
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B
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5
6
7
8
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Intervals:
H
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,/S
6
C harmonic minor scale
I/’’%
6th scale degrees a half step).
CDEFGABC
4
2
3
Tonic
Dominant
Scale Degrees: 1
Leading Tone
Scalr D-,rr,
C
DEF
1
2
W.H
GABC
3
4
3
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7
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7
6
8
lower the 7th, 6th,
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and 3rd scale degree
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C melodic minor scale
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intervals of the C major scale:
Major 2nd
Major 3rd
Perfect 4th
Perfect 5th
Perfect Octave
Major 7th
Major 6th
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root position and inversions.
C major triad (three note chord) in
Root Position
From Bottom:
root third-fifth
I
Second Inversion
First Inversion
From Bottom:
fifth-root-third
From Bottom:
third-fifth-root
Basic chord types constnicted from C:
Major
interval
-
Half Step
-
the closest inteal between two notes
j
-
-
Diminished
owrhfr1&1fth
the distance between two notes
Whole Step an interval of two half steps
Third
Minor
Io,rth1rd
Augmented
Sus 4
rtse (0th
(o,,rth epts thIrd
ent spaces
the distance of two adjacent lines or two adjac
Scale Degree a note’s
-
the scale
clsiflcation according to its posion in
Tonic the first note of a scale, the “key-note” from
which the scale takes its name
-
Dominant
-
inant” and normally resolve to the tonic
the fifth scale degree, chords built on this note are “dom
Leading Tone
-
the tonic
w tonic and its tendency Is to “lead or rise to
the seventh scale degree, it is one half step belo
W32FL